I pulled the trigger on the new (black) vinyl issue as I could get it for just under £15 - I also have a slightly battered UK mono so it will be interesting to compare, and I may also pick up a UK stereo copy fairly cheaply off eBay if I wish to compare the two different stereo mixes directly...

I'd go one step further than that: on Steve's advice I, of course, resisted the temptation to throw it and played it through last night. On my system it sounds incredible, full of subtle nuances and detail I hadn't picked up from playing the 1998 digital remaster of the remix (via the 2010 reissue) but crucially to my ears, it has a depth and richness the CD appears to lack slightly. It doesn't sound remotely hard, aggressive or compressed to my untrained ears. I really like the new LP and it will be my go-to copy from now on. The mix is more centred but again, I have no issue with that: it's more monophonic that way.

If anyone is on the fence about the new reissue I'd suggest buying it and hearing it for yourself. Let's be honest here, this reissue isn't for people who have grown up with this album for the past 50 years and who may know it inside out. If you are lucky enough to own a clean quiet original pressing then you don't need it and you won't buy it. For the rest of us "kids" who weren't even born when it was originally released this latest version isn't going to strike any of us as offensive or a misjudged revisionist take on the officially signed off original.

As Beaneydave says, the vinyl is dead silent all the way through - in fact no MFSL or Analogue Productions LP's I have can match this record for the absence of noise - it is a sheer pleasure to play an LP through and forget you're not playing a CD. Few used copies will match this and you'll need a mortgage to buy a clean original outside the States too.

I unreservedly recommend it and pat UMe / FSE on the back.

Click to expand...

As Mom used to say "That's why they make chocolate and vanilla!" I applaud you for posting this and above all... I am THRILLED you are enjoying the new record. After all, differences aside, isn't this what we are all here for? MUSIC ENJOYMENT? (Thanks for the clarification about those of us who "grew up" with this album!)

This may not be the right thread, but then I'm not sure which one would be - at any rate, I just wanted to say that because of this thread and the "Complete Reprise Sinatra/Jobim" thread I finally got a copy of the FAS/ACJ album. First pressing, lots of scratches but no skips, and good groove condition. One dollar. I'll say what is no news at all to anyone on this thread: what an extraordinary album! Thank you all for helping to lead me to it.

Until very recently I'd only ever heard this album with the "ching-ching"s included via the 1998 CD so to finally hear an original mix minus those additions (my Japanese stereo LP from 1980) is a strange experience. It feels like something is missing and edited out! Personally speaking I think the "ching-ching"s are quite charming but I can also understand why they might offend some purists who have been listening to this for 50 years.

Until very recently I'd only ever heard this album with the "ching-ching"s included via the 1998 CD so to finally hear an original mix minus those additions (my Japanese stereo LP from 1980) is a strange experience. It feels like something is missing and edited out! Personally speaking I think the "ching-ching"s are quite charming but I can also understand why they might offend some purists who have been listening to this for 50 years.

Click to expand...

Let's understand. Nothing wrong with Frank's chings. I find them charming. But back in 1967 the decision to edit them out must have been a weighty one; it was VERY hard to edit all of them out. Many edits had to be made and mix moves (or both). It was not an idle decision and we need to respect their intentions. It was thought out and probably agonized over. Frank probably agreed with the removal or it wouldn't have been done.

I know I would not want to have been the one who told Frank they were being cut.

Click to expand...

I'm sure it was Sonny Burke. Mr. S trusted him implicitly. As Steve has mentioned many times before, Sonny wanted "perfect records", hence the many audits in the final product. I'm sure Mr. S had no problem with the finished product of any of his albums that Sonny produced.

interesting thought
I just think Frank as a guy who felt when 'it's done, it's DONE.' No 'retakes' once it's done, which is why the 'That's Life' story makes you cringe inside. But as I said, what if Frank had second thoughts.............

Had not listened to the 1998 CD in quite a while as I usually always opt for the vinyl. Listening to it now, somehow it sounds slowed down compared to the various vinyl copies I have. This is not grabbing me at all.

interesting thought
I just think Frank as a guy who felt when 'it's done, it's DONE.' No 'retakes' once it's done, which is why the 'That's Life' story makes you cringe inside. But as I said, what if Frank had second thoughts.............

Click to expand...

Doesn't matter who wanted it done, Frank approved the test pressing back in 1967.

If he was alive today what would he want? I think he would want the same thing that was released in 1967. I think he would cringe that any alternate versions (or bonus alternate takes) were being issued. He was more involved than you think.

The fact that NO mix in the CD era (that's 1985 until now, folks) gets this great and classic album right is just crazy. Lazy, revisionism or just befuddlement?

I want to thank everyone who loves the Sinatra & Jobim recordings for writing passionately and persistently about them. I listened to the Concord release of the recordings some time ago and really, really disliked them and Sinatra's performances in particular on most of the songs. They often sounded like run throughs and not performances he would have released or even liked. I know I didn't like them.

Yesterday I found a well worn copy of Francis Albert Sinatra & Antonio Carlos Jobim in a local thrift store. It was the 1998 Entertainer of the Century CD release on Reprise. I took a look in the booklet and saw Lee Herschberg as engineer and for digital mastering and Gregg Geller as reissue producer. Those were positives. For whatever it is worth it was marked 20-bit digitally remastered and stamped for promotional use only on the booklet. I wasn't even sure it would play, but for some reason I thought maybe this one will sound different.

I still thought about it far too much before finally deciding to just buy it. I wouldn't be losing much if it didn't play or I still didn't like it. As on many trips, I had my 14-year old daughter along and I told her I didn't know whether the recording would be any good or not.

As we listened through most of the CD driving home, I was floored. I couldn't believe these were the same recordings. I suddenly loved them, every single one of the ten songs. They are great. I kept telling my daughter that and that I couldn't understand why I felt differently this time.

I'm a little curious to listen to the Concord recordings again, but I don't ever want to spoil what I hear now. I'm likely off on a hunt to find an original mono LP sometime and I'm sure it will sound wonderful. Until then I may have to go for the 50th anniversary edition as well. But I never even would have considered listening again if you all didn't write so much about these recordings. I would have really missed out.

[..] the 1998 Entertainer of the Century CD release on Reprise. [...] For whatever it is worth it was marked 20-bit digitally remastered [...]

Click to expand...

That was a selling point for all of the EOTC CDs from both Reprise and Capitol.

(In the case of the 16 Capitol releases, the increased digital resolution was not worth much, as it was far outweighed by poor mastering. Such was not the case for most of the 12 Reprise EOTC's, including this one.)

Note that one need not rummage through thrift stores to find this CD. All of the OOP Reprise EOTC versions were reissued by UMG in the EU from 2009–12 (and/or in the US in 2014) and they are still available new. E.g.:

I always found the Ching chings annoying. Imho they really spoil the soft and romantic mood of the album. And the subtle depth of the album. Also it is hard to believe that they were appearent in the original masters. Because they always sound to me like overdubbed and artificial. Sometimes it even sounds as if it's always the same Ching ching used several times in different tracks. Anyone agree?

I always found the Ching chings annoying. Imho they really spoil the soft and romantic mood of the album. And the subtle depth of the album. Also it is hard to believe that they were appearent in the original masters. Because they always sound to me like overdubbed and artificial. Sometimes it even sounds as if it's always the same Ching ching used several times in different tracks. Anyone agree?

Click to expand...

I *have* noticed that the chings seem to have different mic presence than Mr. Sinatra's main vocals - telling me that they were either flown in from somewhere else - or he turned his head quickly away from the mic while doing his chinging.